Update: Marina Abramovic responded to the allegations reported in this article. That response is available here. After failing to meet its $31 million funding goal, performance artist Marina Abramovic recently announced the cancellation of her Hudson, New York-based Marina Abramović Institute for the Preservation of Performance Art (MAI). Designed by OMA partners Shohei Shigematsu and Rem Koolhaas, the 33,000-square-foot space would have led visitors through guided tours of the experimental performances that Abramovic is famous for. Originally estimated at $8 million, the project’s costs ballooned over the years to $31 million, according to the New York Post. Speaking at London’s Serpentine Sackler Gallery in October, Abramovic conceded that the project had grown too expensive to proceed with. “I, as a performance artist, could never raise $31 million unless some amazing guy from the Emirates [came forward] or some Russian who just wrote a cheque because he believed in me. But in real life, that doesn’t happen,” she said. With the cancellation of the MAI, questions have arisen over the $2.2 million already raised for the project. After a successful 2013 Kickstarter campaign raised $660,000, the artist pulled in another $1.5 million through private donations. According to the Post, a spokesperson for Abramovic has stated that any money raised has been paid to OMA. “The funds were raised not for the renovation itself but specifically for the schematics and the feasibility study,” the spokesperson said. Although the Kickstarter description confirms the spokesperson’s statement, several backers questioned whether they had thrown their money away, while others complained that they had never received their rewards for donating. “Fraud. I was supposed to receive a signed copy of the Abromovic Methods Exclusives DVD for $200 pledge back in 2013, and am still waiting for it. mised rewards,” said Andre Manukyan on the project’s comments page. Abramovic had hoped that the arts space, unveiled in 2012, would capture the ephemeral, transitive nature of performance art while still allowing visitors to engage with the building around them. Floor plans released by OMA show several distinct programmatic elements, including a fitness center, library, a learning center, offices and classrooms all situated around a 650-seat central performance space. Ambitious and wide-ranging in scope, the arts center would have mandated a minimum of six-hour “hard-core performance art” tours, where visitors would have surrendered their cellphones and worn white frocks while inside the building. OMA had also been set to design custom fixtures and furniture for the facility, including padded wheelchairs so that staff could ferry tired guests from one room to another. Built in 1929, the vacant theater in Hudson is owned by Abramovic and would have retained the original brick facade and column-flanked entryway under OMA’s proposal.Unused and abandoned, the former community theater now sits unmaintained. Abramovic has told the Post that the building would be put up for sale, with a portion of the proceeds going towards paying off the unpaid school taxes the artist owes for the property.
Posts tagged with "Hudson":
New York State Department of Transportation (NYDOT) Commissioner Matthew J. Driscoll has revealed a $24.4 million bicycle and pedestrian bridge at 151st Street in Manhattan. Crossing the Henry Hudson Parkway and the adjacent Amtrak line, the new bridge will connect West Harlem with the Hudson River Greenway. For cyclists, the bridge will be a welcome addition to the area as it is set to provide stair-free access between the greenway and the intersection of 151st Street and Riverside Drive. The development is the second piece of positive news for bikers in the area. According to Streetsblog, earlier this year, New York City's DOT (NYC DOT) installed a "two-way bike lane on 158th Street as part of a larger package of bikeway improvements linking the Hudson River Greenway to the High Bridge." The historic High Bridge reopened to cyclists and pedestrians this past June. Spanning 270 feet, the new bridge will feature ADA-compliant ramps on both sides and a dramatic archway overhead. This is the second and final installment from the NYDOT within the 71st Assembly District to improve access to the Hudson River waterfront, the first of which came in 2006 with the $2 million ramp and stairway at 158th street. Driscoll in the announcement said the project will cost $24.4million of which some will also go toward new landscaping and lighting within the area.
Last fall, new data revealed that Bank of America Tower at One Bryant Park, revered since its 2010 opening as one of the most sustainable skyscrapers in the world, is actually a bigger energy hog than similar New York City buildings. As the first skyscraper to earn a LEED-Platinum certification, the BOA Tower, designed by COOKFOX, was praised by press, New York City Mayor Michael Bloomberg, and former Vice President Al Gore, who is currently a tenant. Yet, despite its superb rating and efficiency promises, Sam Roudman of The New Republic reports that the high-rise “produces more greenhouse gases and uses more energy per square foot than any comparably sized office building in Manhattan,” including its similarity with a lower LEED rating, the Goldman Sachs headquarters. Roudman comments that this vast chasm of difference between One Bryant Park’s reality and its expectation can be accredited to the daily operations of the building, namely Bank of America’s several trading floors of constantly running computers. The energy needed to maintain and cool these machines has caused power consumption to spike, but was purposely overlooked during the certification process. Rated under the pretense of the United States Green Building Council’s Core and Shell Program, the Tower gained points for the developer’s energy efficient initiatives and design to the exterior and core—plumbing, mechanical, electrical, etc.—of the building with the claim that the developer had no control over the tenants’ fit-out. The surprising energy use at the Bank of America Tower brings into question requirements for LEED certifications themselves. With a checklist of green initiatives, some as simple as locating its entrance within a half-mile of an existing subway station, or protecting and restoring habitat in Bryant Park, the Program’s environmentally conscious marks leave grey area in their ratings. Surely, Bank of America had an idea that they would be powering hundreds of computers round the clock, yet as a commercial building with other tenants, were allowed to be certified at the highest level of green design.
As the first segment of The High Line opened to the public on Monday, the first public art commission to occupy the space was unveiled. An installation by Brooklyn-based artist Spencer Finch, The River That Flows Both Ways, is a collection of 700 tinted films applied to the existing windowpanes of a semi-enclosed loading dock attached to The Chelsea Market. Anne Pasternak, President and Artistic Director at Creative Time, the cultural partner of Friends of the High Line, described the project: “He takes old window mullions in a dark, unremarkable tunnel and transforms them into reflections of color and light taken from the nearby Hudson River.” The installation is based on a single day Finch spent in a boat floating up- and downriver propelled only by the natural flow of the Hudson. A camera, on a timer, took a photograph of the water once a minute for 11 hours and 40 minutes. Later, selecting the exact color of a single point in each photograph, Finch produced a film with which he laminated the windows and organized in chronological order. The River That Flows Both Ways is a subtle work, unassuming at first glance, especially with construction still taking place around it. On its first day open, passersby were observed walking halfway through the underpass, apparently unaware of the exhibit, and suddenly stopped to look at the playfulness and soothing colors of Finch’s work. The park currently plans on presenting at least one other major public art project, scheduled for next spring. The artist and the project will be announced in the next few months. Pasternak explained that in addition, “Friends of the High Line will be launching an artist residency program this fall through which artists will be invited to create new work that interprets the site's past, present, and future.” The new curator for this program is Lauren Ross. Adrian Benepe, the Parks & Recreation Commissioner, also shared his view of the park’s future. “The High Line will be one of the city’s best outdoor art museums,” he said. With Finch's work now on view, the elevated park has a great start.